This kind of montage switches between images in an attempt to compare and contrast them. The movement is widely known for changing the landscape of film editing around the world.
Here we see this link overtly made. The physicality of this montage also helps in getting across one of the film’s themes – the physicality of drumming.

This is the inverse of gestalt. Since the 100 years since Sergei Eisenstein introduced his montage theory, montage has developed to suit the purposes of exposition and compression of time and space. It's easy to marvel at the magnificence of a galaxy, the Grand Canyon, or Buckingham Palace, but this kind of montage is powerful because it focuses on the grandeur of small details: an eyelash, a person looking through a photo album, or dirty dishes in the sink. Herman Melville also uses a montage-like technique in Moby Dick. They begin hopeless and end as warriors. In training montages, characters train for a big event in the story. Even if you only see several short clips from a character's experience, you will be able to understand the entire thing as a whole based on the tone each one of them carries. Using montage in this sequence rushes through a tragic moment. The Moscow Film School or VGIK was founded in 1919 during the midst of the Russian Revolution. In one part of town, the robbers are getting ready to pull off the greatest heist of their lives; at the same time, on the other side of town, the police are getting ready for the sting operation that will bring the mob to its knees; and perhaps, in a third part of town, the kingpin’s wife is in a hospital giving birth to their first child. The montage establishes Angel as a successful, no nonsense cop. It was founded by Lev Kuleshov while he was teaching at the Moscow Film School.
Each image stands on its own (like a vignette), but they all work together to tell a general story. The view of the Soviets was criticized for being reductionist and neglecting others aspects of filmmaking, such as acting. Instead of establishing the world of the story, it is used to demonstrate a correlation between the real world and the narrative world of the film. Imagine the morning routine of a wealthy heiress and her maid -- extremely different. First, let’s define montage and dig into the various reasons to incorporate it into your next screenplay. For this reason, Cinefix places this at number one as the best sequence of all time. It’s a clever use of a static shot, one apartment witnessing the many different characters that make up the story. What's a Montage? One simple way is to slug “MONTAGE – VARIOUS,” and then bullet or letter your list of montage elements, starting each with a slug line: INT. In this montage, the potential dullness of over-repetition is avoided by the rapid succession of Tom Cruise’s characters deaths, similar to Groundhog Day. Kind of vague, I know, but think of films that boil an entire relationship down to small snapshots from their time together, like in Annie Hall, or a road trip in which you only see the highlights. Basically, they work to shorten the time it takes a character to "put on their armor": working out to become stronger, practicing to gain a new skill, etc. This iconic montage from John Hughes’ The Breakfast Club is an example of a rhythmic montage. It was originally used in Scarface, in a montage that shows the young Cuban gangster just beginning to taste the success that will ultimately claim his soul. The term, montage, was coined for cinema in the 1920s by Sergei Eisenstein. What other great examples of montages are missing from this list? Here’s a solid example essay that uses the Montage structure. Few tools are more efficient at condensing the time of a sequence of events. The effect was that the viewer induced an emotional charge from the expression, not according to the expression itself but according to the image that was juxtaposed.